Torpedo Reload User S Manual

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Torpedo Reload User's Manual
Guitar Connectivity… Perfected!
The complete electronic version of this manual, as well as the Two notes Audio Engineering software
and hardware products, are subject to updates. You can download the most recent versions of the
products on the Two notes Audio Engineering website.
This manual describes the Torpedo Reload and provides instructions for its operation. It is highly
recommended that you read this document before using the product. The contents of this manual
have been thoroughly verified and it is believed, unless stated otherwise, to accurately describe the
product at the time of shipment from the factory or download from our website.
Two notes Audio Engineering is a registered trademark of:
OROSYS SAS
76 rue de la Mine
34980 Saint-Gély-du-Fesc
France
Tel: +33 (0)484 250 910
Fax: +33 (0)467 595 703
Contact and support: http://support.two-notes.com
Website: http://www.two-notes.com
This document is the exclusive property of OROSYS SAS. In the interest of product development,
OROSYS SAS reserves the right to change technical specifications, modify and/or cease production
without prior notice. OROSYS SAS cannot be held responsible for any damage, accidental or
otherwise, that results from an inappropriate use of the Torpedo Reload. Please refer to the safety
instructions included in this manual. The reproduction of any part of this document is strictly
forbidden without the written authorization of OROSYS SAS.
User's manuals - http://wiki.two-notes.com/
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All product names and trademarks are the property of their respective owners. Product names and
trademarks found in this document were used during the development of the Torpedo Reload product
but are in no way associated or affiliated with OROSYS SAS.
1 Foreword
1.1 Safety instructions
Before using the product, it is necessary to carefully read and to bear in mind the following
information. Keep this document in a safe place as it is important for the protection of both
user and product. Should you suspect any malfunction of the device, always seek the assistance of
a qualified technician.
1.1.1 Risk of electric shock
The triangle with a lightning bolt means that some parts of the product, even
when the power is turned off or unplugged, can retain voltage high enough to
cause serious electric shock. Any operation that requires opening the device
should be left to a qualified technician.
1.1.2 Reader warning
The triangle with an exclamation mark highlights important messages concerning

the correct use of the device.
1.1.3 Mains Power
Please verify that the voltage required by the device matches the voltage of your country. If it doesn’t
or if you are unsure, do not plug the device to the wall outlet as this could result in damage to the
device and injuries to the user.
This product must not be used during lightning storms. In case of severe weather with a risk of
lightning, unplug the mains power supply to reduce the risk of electric shock and fire.
The mains power cable provided with the unit complies with the standards of the country where you
purchased the product. If replacement is needed, please use a standard compliant cable.
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1.1.4 Ground Connection
For safety reasons, the unit needs to be plugged into a wall outlet with a ground connection. If your
electric installation does not provide a ground connection or if you are unsure, please ask a qualified
electrician for help. If your mains power cable does not match your wall outlet, ask a qualified
electrician for help. In order to prevent risks of electric shock or fire, never remove the outer or inner
ground connection of the unit.
1.1.5 Safety use conditions
The Torpedo Reload must never be used near a heat source, near a flame, in the rain, in damp areas,
near any kinds of liquids.
When transporting the unit, care needs to be taken to avoid any shocks that might cause damage and
therefore require the assistance of a qualified technician.
Never cover or restrict the ventilation openings. Never unplug or deactivate the heat control
monitoring system, or you will be exposed to risks of electric shock and fire.
1.1.6 Cleaning
Always use a piece of dry and soft cloth with no alcohol or solvents for cleaning. Please keep the unit
clean and free from dust.
1.1.7 Maintenance
All maintenance operations must be performed by service centers approved by OROSYS SAS or by
qualified technicians. Never try to repair the machine by yourself.
1.2 Contents of the package
The shipped package contains:
One Torpedo Reload unit in a protective sleeve

One mains power cable
One User's Manual
The complete electronic version of this manual, as well as the Torpedo Remote and Torpedo BlendIR
softwares are subject to updates. You can download the most recent versions of these products on
the Two notes Audio Engineering website.

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1.3 Declaration of conformity
Manufacturer: OROSYS SAS

Category of product: digital audio signal processor
Product: Torpedo Reload
Test Manager: Guillaume Pille
The Two notes Torpedo Reload is certified to be compliant to the CE and FCC standards:
EN 55103-1 : 1996 and EN 55103-2 : 1996.

EN 60065 05/2002 + A1 05/2006.
EMC directive 89/336/EEC and Low Voltage Directive 73/23/EEC.
FCC Part 15 : 2008.
ICES-003 : 2004.
AS/NZS 3548 class B for Australia and New Zealand.
IEC : 2008 - CISPR 22 class B.
1.4 Disposal of Waste Equipment by Users in Private

Household in the European Union
This symbol on the product or on its packaging indicates that this product must
not be disposed of with your other household waste. Instead, it is your
responsibility to dispose of your waste equipment by handing it over to a
designated collection point for the recycling of waste electrical and electronic
equipment. The separate collection and recycling of your waste equipment at the
time of disposal will help to conserve natural resources and ensure that it is
recycled in a manner that protects human health and the environment. For more
information about where you can drop off your waste equipment for recycling,
please contact your local city office, your household waste disposal service or the
shop where you purchased the product.
1.5 Warranty
OROSYS SARL warrants that this TWO NOTES AUDIO ENGINEERING product shall be free of defects in
parts and workmanship when used under normal operating conditions for a period of two (2) years
from the date of purchase. This warranty shall apply to the original purchaser when purchased from
an Authorized TWO NOTES AUDIO ENGINEERING dealer.
IMPORTANT: PLEASE RETAIN YOUR SALES RECEIPT, AS IT IS YOUR PROOF OF PURCHASE

COVERING YOUR LIMITED WARRANTY. THIS LIMITED WARRANTY IS VOID WITHOUT YOUR
SALES RECEIPT.

Defective products that qualify for coverage under this warranty will be repaired or replaced, (at
OROSYS SAS’s sole discretion) with a like or comparable product, without charge. In the event that
warranty service be required, Please contact your authorized TWO NOTES AUDIO ENGINEERING dealer
in order to obtain an RMA to return the complete product to the Authorized TWO NOTES AUDIO
ENGINEERING Service Center closest to you, with proof of purchase, during the applicable warranty
period.
Transportation costs to the service center ARE NOT INCLUDED in this limited warranty. OROSYS SAS
will cover the cost of standard ground return transportation for repairs performed under this warranty.
This limited warranty becomes void if the serial number on the product is defaced or removed, or if
the product has been damaged by alteration, misuse including connection to faulty or unsuitable
ancillary equipment, accident including lightning, water, fire, or neglect; or if repair has been
attempted by persons not authorized by OROSYS SAS.
Any implied warranties, including without limitation, any implied warranties of merchantability or
fitness for any particular purpose, imposed under state or provincial law are limited to the duration of
this limited warranty. Some states or provinces do not allow limitations on how long an implied
warranty lasts, so the above limitations may not be applicable.
OROSYS SAS ASSUMES NO LIABILITY FOR PROPERTY DAMAGE RESULTING FROM ANY
FAILURE OF THIS PRODUCT NOR ANY LOSS OF INCOME, SATISFACTION, OR DAMAGES
ARISING FROM THE LOSS OF USE OF SAME DUE TO DEFECTS OR AVAILABILITY OF IT
DURING SERVICE.
In case you must absolutely send your TWO NOTES AUDIO ENGINEERING product to any other
location, it is of vital importance that you keep the original packing material. It is very difficult to
avoid damage when shipping the product without that material. OROSYS SAS is not responsible for
damages caused to the product by improper packaging and reserves the right to charge a reboxing
fee for any unit returned for service without the original packing material.
THE FOREGOING CONSTITUTES THE ONLY WARRANTY MADE BY OROSYS SAS WITH
RESPECT TO THE PRODUCTS AND IS MADE EXPRESSLY IN LIEU OF ALL OTHER WARRANTIES
EXPRESSED OR IMPLIED.
2 Recommendation on the proper use of a

loadbox with a tube amplifier
2.1 What is a loadbox?
In the normal use of a tube amplifier, it is highly recommended that you always connect its power
output to a speaker cabinet prior to powering it up. The speaker cabinet (4, 8 or 16 Ohms) must
always be connected to the corresponding speaker output of your amplifier. Not doing so can lead to
partial or complete destruction of the output stage of the tube amplifier.
Most tube amplifiers makers protect their products with fuses or other protection systems, however

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some amplifiers are still insufficiently protected. It is impossible to predict the behavior of all the
amplifiers on the market in case of use without a load (a speaker cabinet or a loadbox).
The electronic term that describes the speaker cabinet with respect to the amplifier is the “load”: we
say the cabinet “loads” the amplifier. The term “loadbox” is used to describe any product that
provides a load to the amplifier. The main parameter of the loadbox is its impedance, expressed in
Ohms. An 8-Ohm loadbox must be plugged to the 8-Ohm speaker output of the amplifier.
The power sent to the load is turned into heat, so please follow the cooling recommendation in the
manual — otherwise overheating may cause damage, both to the loadbox and to the amplifier.
The Torpedo Reload is a loadbox. This term indicates that the Torpedo Reload is a load which can
electrically replace the speaker cabinet while dissipating (transforming into heat) the power coming
out of the amplifier.
Within the Torpedo Reload is a Reactive load. A Reactive load simulates the complex impedance of a
real speaker.
Always connect the speaker out of your tube amplifier to an appropriate

load (speaker cabinet or loadbox). The Torpedo Reload, once powered
up, is such a load. Please note that you should always power up the
Torpedo Reload before your amplifier. The maximum admissible power
of the Torpedo Reload is 150W RMS, your amplifier shouldn't be set to
play at a higher output power value. See this article if your amplifier is
more powerful than 150W.
2.2 Which output volume for my amplifier?
The correct use of your amplifier with a loadbox requires some precautions. Because of the silence
while playing, it is much easier to accidentally run your amplifier beyond the reasonable limits set by
the manufacturer than when using a real speaker cabinet with it. This can lead to faster tube wear
and, in some cases, to more serious inconveniences.
When first testing the amplifier at high volume, monitor the color of the
tubes and the general state of the amplifier. Red-glowing tubes or any
appearance of smoke are signs of a problem that may result in partial or
complete destruction of the amplifier.
Keep in mind that the “sweet spot” - the perfect running point of the amplifier, the one that will give
you the tone you’re looking for - is rarely obtained at maximum volume. In addition, the volume
control of the amplifier is usually logarithmic, which means the volume goes up quickly on the first
half of the potentiometer rotation, reaches its maximum at 12 o’clock, and doesn’t change much
beyond this point. Therefore, you can reach the maximum volume of your amplifier even if the
volume potentiometer is not set at maximum.
By reaching the maximum output power of your amplifier, you will hear a lot of distortion, which may
not sound as well as you may hope. In fact, most amplifiers sound rather poorly at maximum volume.
Always keep in mind that your amplifier may not have been conceived to be used at maximum
volume for a long period of time. Running an amplifier at high volume will cause premature wear of

the tubes and possible malfunctions or damages at the output stage.
The fact that the volume control of your amplifier is not set at maximum
doesn’t mean your amplifier is not running at maximum volume. A good
habit is to keep the usual volume setup you would use in rehearsal or on
stage, rather than just following what the volume potentiometer indicates.
2.3 Is the use of a loadbox totally silent?
We usually talk about “silent recording” when a loadbox is involved. If we compare the loadbox
solution to a traditional cabinet miking solution, it is obviously A LOT quieter. Noises that you may
have not been able to hear before due to the volume of the speaker cabinet will now be more
apparent. Here are a few of those sounds that you might have to take into account:
• Your guitar or bass strings can be heard. If you are not used to this, it could be initially distracting,
depending on your environment.
• You may hear some noise coming out of your Torpedo Reload when playing, like there is a tiny
speaker inside the box. This is perfectly normal and there is no reason to worry. The sound is
produced when power goes through the coil of the reactive load embedded on the Torpedo Reload.
The vibration is related to what power comes out of the amplifier connected to the Torpedo Reload
and to the signal’s frequency content (notes played are heard). Your amplifier, specifically the
output transformer of your amplifier, may also produce similar noise. Such noise is usually not heard,
simply because it is normally obscured by the sound coming from the loudspeaker.
• The Torpedo Reload has a built in fan, as there is quite a lot of power dissipated into heat inside the
box. We selected a so called “silent fan”, but as it is running fast, it is never entirely silent. This said,
you can consider that, in normal use (hearing your guitar through monitors, or headphones), you can
barely hear the fan.
3 About the Torpedo Reload
3.1 Introducing the Torpedo Reload
Two notes Audio Engineering is proud to introduce the Torpedo Reload, the all-in-one analog interface
for recording guitars and basses in the studio. This product has been developed through several years
of technical development, with great attention paid to the needs of guitarists, bassists and sound
technicians faced with the challenges posed by the miking of instrument amplifiers, on stage or in the
studio. Our goal is to provide ease of use, reliability, versatility and above all, perfect audio quality.
The Torpedo Reload is the interface everyone involved in modern guitar and bass recording situations
needs. It was designed at first as the perfect interface between a guitar or bass amplifier and a sound
card, so you can send the best signal possible to our Torpedo Wall of Sound plug-in, which embeds
the Torpedo technology.

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Recording your guitar or bass amplifier in silence has always been the purpose of the Torpedo
products, but with the Torpedo Reload Two Notes has striven to gather together all of the major
functions and products you may need in a recording room:
A Hi-Z instrument DI so you can record you guitar’s signal directly;

The most transparent power attenuator and loadbox with multi-impedance input and
continuous volume setting, from a minimal attenuation to 0dB. Two Notes creates the RE-
ACT™ technology;
A re-amplifying interface with a special function to perfectly adjust the level sent from the
audio interface to the amplifier. Two notes creates the REPLAY™ and MATCH™ functions.
Record your guitar using the DI, send the signal back to your amp using REPLAY™, drive your
amplifier the way it should be driven and lower the level or simply make it silent with RE-ACT™,
record the signal from the load box, and even use your own microphones and cabinets for a 3rd take -
all simultaneously if needed!
This product has been thoroughly tested in professional studio and stage environments
and is the alternative many musicians have been waiting for to professionally capture the
sounds of their amplified instruments. The Torpedo Reload coupled with Torpedo Wall of
Sound will bring you the elusive sound of the greatest recording studios and producers,
anytime, anywhere.
3.2 Front panel
1. Mains switch 4. Loadbox output 7. Ventilation slit 10. MATCH™

2. Hi-Z DI instrument level 8. Signal indicators indicators
input 5. Speaker output 9. Load impedance 11. Overheating
3. REPLAY™ level level indicators indicator
6. Contour

3.3 Rear panel
1. Fan 4. Loadbox output

2. RE-ACT™ speaker 5. DI output
input 6. REPLAY™ I/Os
3. RE-ACT™ speaker
outputs
3.4 The Torpedo Reload’s advanced functions
3.4.1 RE-ACT™
Attenuators are usually known for the negative impact they have on your tone in cases of heavy
attenuation, which ismainly due to the fact that the load presented to the amplifier will vary
depending on the attenuation level. On the contrary, the Reactive-Active technology (RE-ACT™)
presents your amplifier with a consistent speaker’s impedance no matter what level of attenuation
you are at, thus preserving the specific character of your amplifier.
With a choice of 4, 8, or 16 Ohms, your amplifier (up to 150W RMS, 200W peak) will actually see real
speaker impedance, and your tone will remain constant throughout the continuous attenuation curve.
The attenuated outputs and the loadbox output can be used at the same time, so you can
simultaneously record the dry output from your amplifier’s speaker output and perform a traditional
miking of your cabinet(s). You can plug or unplug the speaker cabinet anytime without worrying about
its impedance with regards to the amplifier’s speaker output impedance, as the two are totally
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Another issue with amplifier attenuation has to do with how our ears perceive the sound. In effect, the
lower the volume of the sound is, the less we hear low and high frequencies. That is because our
hearing is way better at low volumes for the mid frequencies of the voice, for example. The CONTOUR
parameter can be seen as a loudness compensation effect, but it can also be used as a creative
effect. Turn the button to the left (Vintage) and you will get a rich, medium-centered tone with a lot of
presence. Turn CONTOUR to the right (Modern) and you will get more bass and treble, a V-shaped
tone to get those frequencies your ears cannot perceive at low volume. Or simply to get that ultra-
tight metal tone or ultra-warm clean tone you are looking for…
Please note that a minimal attenuation is applied to the input power amplifier signal,
whatever the position of the SPEAKER potentiometer. There is no bypass mode in the Torpedo Reload,
meaning the sound will always be attenuated at the Torpedo Reload SPEAKER output. This
attenuation is a function of several parameters, read more about that in the Specifications section.
3.4.2 Hi-Z instrument DI
Plug your guitar or bass into the DI input and send that signal to your microphone preamplifier
connected to your recorder. If the DI signal is too strong for your preamplifier, you can connect the DI
output to a Line input, by using an XLR-XLR cable or XLR (female) to Jack 6.35mm (1/4”) TRS. At that
stage what you want is clarity and Two Notes preserves your guitar’s tone, as you will certainly want
to re-inject it into your amp through the REPLAY™.
This DI signal is also suitable to feed any kind of amplifier-modeling software that can be followed by
the Torpedo Wall of Sound plug-in.
Please note that here is no hardwired splitter function in the Torpedo Reload. To feed at the same
time your DAW and an amplifier, you will need to send back the signal from the DAW using the
REPLAY™ interface. Please read about the REPLAY™ function to discover this new and very effective
way to record your instrument.
3.4.3 REPLAY™
One of the most interesting options in studios nowadays: play the guitar one day, and mike the
amplifier (or many different amps) another. The Torpedo Reload is your re-amplifying device of
choice.
The REPLAY™ output follows a low-impedance unbalanced design to ensure the best conditions when
sending the signal to the amplifier. The ground lifts will allow you to solve any grounding issues that
may come up when you are setting up the kind of complex wiring you can use with the Torpedo
Reload.

The most difficult part in re-amplification techniques is finding the output level on the DAW (Digital
AudioWorkstation) that matches the level of your guitar when it is directly connected to the amplifier.
This problem is now solved, thanks to the Torpedo Reload’s unique MATCH™ feature.
3.4.4 MATCH™
This Two Notes innovation is the solution to the problem of level adjustment when re-amplifying. If the
level is too high your amplifier will tend to over-saturate, if the level is too weak the tone will lack
dynamics and liveliness.
MATCH™ compares the signal as it comes from the guitar (plugged to the DI input) with the signal
that has been recorded (and which is sent to the REPLAY™ Line Input) so that what you send the amp
is the ideal level only. Now you can be sure that the signal you send from the DAW is exactly what
your guitar itself would be sending.
You may even perform a MATCH™ with two different signals: if you have a previously recorded track,
for instance, but do not have the guitar with you — plug a similar guitar into the DI In and match it to
the signal!
3.5 The Torpedo technology and Torpedo Wall of Sound
The Torpedo technology was created as an answer to the high pressure musicians have to deal with:
lack of time, limited gear availability, loud amplifiers that cannot be played at desired volume, as well
as bulky and heavy cabinets to carry. In addition, many musicians are more comfortable with their
analog amplifier and effect pedals, and feel reluctant to perform using digital modeling systems that
might compromise their playing style and sound.
The Torpedo Technology: for unsurpassed realism and playing comfort, Two notes has developed a

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unique technology based on an adaptation of convolution techniques. Starting with the measurement
of an actual cabinet + microphone setup, Torpedo Wall of Sound can accurately reproduce the
system as it was measured, as well as the microphone’s position in space.
The Torpedo Reload comes with a Torpedo Wall of Sound plugin license. Torpedo Wall of Sound offers
a “virtual” alternative to traditional miking to achieve a degree of realism never experienced
previously with simulators. The musician simply plugs the Torpedo Reload in place of his/her cabinet,
connecting the amplifier’s speaker output to it and without modifying any of his/her usual settings (or
connected effect pedals as applicable). From there, the Torpedo Reload Loadbox output signal can be
sent to any microphone preamplifier and that signal recorded thanks to your DAW on a track
embedding the Torpedo Wall of Sound plugin.
The Torpedo Reload comes with a library of 24 cabinets and 8 microphones among the most
commonly used models in the world, which you can use in Wall of Sound. You can also upgrade and
add many other cabinets through “La Boutique”, our online virtual cabinet store. The virtual miking is
done by choosing one cabinet and one microphone, then fine-tuning the position of the microphone in
front of the cabinet. Wall of Sound thus enables the user to assume the role of the sound engineer in
a professional studio.
3.6 Torpedo Wall of Sound, only A Speaker Simulator?
The Torpedo Wall of Sound is a software plug-in you can embed in your recording
program. The plugin should be used on tracks containing guitar or bass signal recorded from a
preamplifier (guitar, bass, or any product with a line output) — or from a loadbox like the Torpedo
Reload if you want to record the signal coming from the speaker output of your amp.
The role of Wall of Sound is to replace the following elements of the traditional guitar or bass setup:
the guitar/bass power amplifier

the speaker cabinet
the microphone
the microphone preamplifier
In order to provide a signal that is the closest possible to a traditional guitar/bass miking in a
professional studio environment.
The miking is achieved in 3 steps in Wall of Sound :
1. Choose a power amplifier (or switch it off if you are using a loadbox), a speaker cabinet and a
microphone (Gear menu)
2. Position the microphone inside the virtual studio (Miking menu)
3. Shape the signal (Post-FX menu).
At each step, Two notes Audio Engineering implements its know-how to offer the most advanced
simulations on the market and ensure absolutely realistic quality both for the musician (in terms of
playing sensation) and for the listener (in terms of sound quality).
Note: the evaluation version of Torpedo Wall of Sound is limited to 8 microphones and 2
cabinets, but the Torpedo Reload comes with a full license of Wall of Sound, offering 24

cabinets.
3.6.1 Tube Stage Output
When using guitar/bass preamplifiers with some other speaker emulators, the musician may feel they
miss a power amplifier’s contribution to the overall sonic texture. Many musicians get their sound
from a particular use of that element and Torpedo Wall of Sound gives you the possibility to use it too.
To that effect, Two notes Audio Engineering has developed an original tube-stage modeling that gives
you a choice of 4 different tube models (6L6, EL34, EL84 and KT88) in Push-Pull (PP) in AB class, or
Single Ended (SE) in A class configurations. You can push this tube stage like a conventional amplifier
and look for that subtle yet particular distortion.
Torpedo Wall of Sound can be used as a super-DI for keyboards. The tube-amp simulation feature,
developed for guitarists and bassists, can also be a very interesting device to warm up the sound of a
synthesizer, an organ, or a digital piano.
3.6.2 The Torpedo technology, convolution and Impulse Responses
The Impulse Response (IR) of a given system consists in the description of that system’s behavior in
the form of a very detailed filter. The convolution technique uses IRs to simulate the behavior of
specific systems such as reverbs, speakers, EQ, and so on.
This is the most accurate method to simulate sound signatures that are linear (i.e. without distortion)
and time-invariant (i.e. with no effect such as modulation, compression, hysteresis, etc.). It is
particularly well suited for speaker miking simulation.
Two notes has developed a unique technology based on an adaptation of convolution

techniques. Starting with a measure of a real cabinet + microphone setup, Torpedo Wall
of Sound can accurately reproduce the system as it was measured, including its
distortion, as well as the microphone’s position in space by using IR synthesis. Control
the amount of distortion produced in the loudspeakers (Overload) and fix any phase issue
with the Variphi — exclusive Two notes Virtual Cabinets functions.
3.6.3 Multi miking
Torpedo Wall of Sound offers you what every sound engineer wants: the possibility of carefully placing
several microphones before the same cabinet, or of selecting several different cabinets and
microphones and mixing them.
You will discover the unlimited possibilities of multi miking, with up to 100 processing channels! Add
as many microphone and cabinet configurations and mix them in the stereo field or keep them
isolated on each channel, in real time.
3.6.4 Post FX Section
When recording guitars or basses, it is common to apply a few effects to shape the sound before it is
sent to a PA or a recorder. In Torpedo Wall of Sound, you will find a 6-bands EQ filter (with guitar, bass

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and parametric modes), a 2-bands exciter, a studio compressor and a tweakable reverb.
3.6.5 3rd Party Impulse Responses
Torpedo Wall of Sound is capable of delivering the best guitar and bass tones by using the Torpedo
technology, but you can also embed impulse responses that you have purchased or downloaded for
free from 3rd-party developers, in WAV or AIFF formats.
3.6.6 Create Your Own IR's
Download the free Torpedo BlendIR software from the Two notes Audio Engineering website. With this
software you will be able to capture your own cabinet + microphone setup and embed its sound
signature into Torpedo Wall of Sound.
4 Connecting the Torpedo Reload
4.1 Overview
The Torpedo Reload offers a solution for silent and quality sound pick-up in many situations. The
following illustrations show the most common situations the Torpedo Reload has been created for.
1. Guitar/Bass 4. Guitar/bass speaker 6. Audio interface

2. Torpedo Reload (front) cabinets 7. PC/Mac with Torpedo Wall

3. Torpedo Reload (rear) 5. Guitar/Bass amp of Sound
All functions work at the same time, but we will first show a variety of the more simple setups.
Please keep in mind that tube amplifiers must be connected to an

appropriate load (cabinet or loadbox). Always plug the speaker output from
your amp to the speaker input of the Torpedo Reload, and select the
matching impedance.
Always use a standard speaker cable between the amplifier speaker out and
the Torpedo Reload SPKR IN. A speaker cable and an instrument cable may
look similar. You may have to open the jack connector and see for yourself:
the speaker cable is unshielded and carries the powerful signal through two
insulated conductors, the instrument cable is shielded and has only one
internal conductor. Using an instrument cable instead of a speaker cable
can cause significant damage to your amplifier, requiring service by a
technician.
4.2 LED indicators
You will find different LED indicators on the Torpedo Reload front panel:
SIGNAL / CLIP: indicates the presence of a signal in either the DI, REPLAY™ or SPEAKER input
(green color). The LED lights up red whenever that signal is too strong — if so, you need to
lower the volume at the corresponding input.
MATCH™: Increase the REPLAY™ potentiometer value if the up arrow lights up, and lower the
value if the down arrow lights up. “OK” means that the level of the signal sent to the amplifier
through the REPLAY™ Amp Out and that of the guitar’s signal in the DI input are at matching
volumes.
LOAD IMPEDANCE: shows the selected impedance on the Torpedo Reload. This value must
match the value of your amplifier’s speaker output. Go to the back of the Torpedo Reload and
select either 4, 8 or 16 Ohms.
NB: The Torpedo Reload must be turned off when you select the SPEAKER input
impedance. Your amplifier should not be powered on during the process.
Overheating warning: this last indicator will light up if the temperature inside the Torpedo
Reload is too high, which activates the security load. If so, please lower the volume on your
amplifier or stop playing for some time, so the temperature decreases.

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4.3 DI recording
This first setup is what you will use when you want to connect your instrument to your sound card
properly to do some recording and/or to feed an amp-modeler plugin. The Hi-Z (High Impedance)
instrument input of the Torpedo Reload will handle your guitar or bass signal so you face no loss of
dynamic or frequency:
1. Plug your guitar to the DI input and the DI output to your microphone preamplifier (or channel 1
on the mixer, or embedded preamplifier on your audio interface), and that preamplifier to Line
channel input 1 on your audio interface.
2. Activate Track 1 for recording & live monitoring, select channel 1 as an input.
3. Start recording!
In any setup that involves a microphone preamplifier, it is important to set the correct gain on the
preamplifier so the level of the recorded track is high enough. It is commonly recommended to set the
gain on the preamplifier so the instrument’s signal will hit -16dB FS to -18dB FS (i.e., dB Full Scale, the
value indicated on your sound card and sequencer input meter).
If the DI output signal is too high for your microphone preamplifier input,
and your preamplifier doesn't provide a PAD attenuator, consider using a
line input instead. You may have to use an XLR Female Plug 3-pin to TRS
6.35mm (1/4“) Jack cable if your soundcard/mixer only provides Jack line
input(s).
4.4 Power attenuator and load box
4.4.1 RE-ACT™, how does it work?
Some attenuators are resistive, others are reactive, and most of them are passive.

Passive means that the attenuator’s electronics does not require a power supply.
Resistive means that the power out of your amplifier is tamed by the presence of one or several
resistors on the signal path. The load impedance plays a huge role on the sound, and a resistive
attenuator will make the tone somewhat darker, with losses in the high and low frequencies.
Reactive means that reactive elements (transformers, coils and/or capacitors) are used instead of
mere resistors. With this technology, the damping factor will decrease with the level of attenuation.
Most of the time, a reactive attenuator means losses in character and fidelity, “muddy” sound and
other unwanted effects.
Another downside of passive resistive/reactive attenuator is the way the listening level is controlled,
usually by some stepped potentiometer, which does not allow for precise volume setting, and limits
you to a set of fixed attenuations.
RE-ACT™ stands for “Reactive-Active Attenuator”, which means it uses a reactive load and
active overall schematics. In effect, the RE-ACT™ can be described as the conjunction of two
elements:
a reactive loadbox inherited from the critically acclaimed Torpedo Live series, followed by
an ultra-low-distorsion, wideband, low-noise solid-state amplifier based on a widely used HiFi
architecture.
The role of this system is to present a speaker-like impedance to your amplifier, get rid of the power,
then re-amplify it to the desired volume. This design offers a number of advantages over
resistive/passive ones:
the amp is always connected to a fixed impedance, which is as close as possible to a real
speaker impedance;
as the impedance does not change with the attenuation, the tone of your amp stays the same;
the volume you hear in the room can be set continuously, you get REAL master-volume control
(SPEAKER parameter), after your amplifier’s master volume;
the speaker-output impedance of your amplifier is independent from the speaker impedance of
the actual speaker cabinet you plug on the Torpedo Reload. This opens up a great many fun
possibilities of cabinet mixing.
4.4.2 Connection
Connecting the Reload as an attenuator is really quite simple, provided you observe the following:
Always match the value of the impedance on the Torpedo Reload (either 4, 8 or 16 Ohms) to
your amplifier’s speaker-output impedance.
The Torpedo Reload will normally get warm during use, so you must not put it in a closed box or
obstruct the air vents.
You can connect one or two cabinets to the Torpedo Reload, or no cabinet at all if you want to
use the loadbox only (silent playing and recording).
The impedance of the cabinets you may plug to your amp is independent from the impedance
of that amplifier. You can very well use the 8-Ohm speaker output of your amp while having one
8-Ohm cabinet and another 16-Ohm cabinet plugged to the Torpedo Reload! Please refer to
“Possible post-attenuation speaker combinations”, Part 7.2.3 for more information about
cabinet matching.

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1. Connect your amplifier’s speaker out to the Torpedo Reload’s SPEAKER IN.
2. Make sure the impedance selected on the Torpedo Reload matches the value at your amp’s
output.
3. Connect a cabinet to the lower SPEAKER OUT jack.
4. Connect a second cabinet, if needed, to the higher SPEAKER OUT jack.
The loadbox inside the Torpedo Reload remains active whether you have
plugged a cabinet to it or not. We recommend using amplifiers with a
maximum power rating of 150W RMS (200W peak). Basically, the loadbox
turns your amplifier’s power into heat. If the temperature inside the
Torpedo Reload is too high due to an excess of power, DO NOT WORRY: the
active security system will put your amp on a safe security load, while the
Torpedo Reload cools down.
When you play your amplifier loud, you may hear some noise coming out of
the Torpedo Reload. This is perfectly normal and there is no reason to
worry. The sound is produced when power goes through the coil of the
reactive load embedded in the Torpedo Reload. The vibration is related to
what power comes out of the amplifier connected to the Torpedo Reload
and to the signal’s frequency content (i.e., notes played are heard). Your
amplifier may also produce similar noise, at the output transformer’s stage.
Such noise is usually not heard, simply because it is normally covered by
the sound coming from the loudspeaker.
The sound may be a little different depending on whether a Torpedo Reload is placed between
your amplifier and your cabinet or not. That is normal, as the internal speaker impedance of the
Torpedo Reload will be slightly different from your cabinet’s. Most importantly, this slight
difference is constant and does not depend on the attenuation level.

4.4.3 Contour
The CONTOUR parameter will help you find the tone you are searching for, at low volume. This filter
changes the attenuated speaker output, from more medium and vintage tones to more modern and
midscooped tones. Basically, when playing at low volume, you may want to add that missing bass and
treble, but we like to imagine a more creative way of using the CONTOUR, by modifying the tonal
characteristics of your amplifier during a recording through traditional miking.
CONTOUR has no effect on the DI, REPLAY™ or Loadbox outputs.
4.5 Re-amplification using REPLAY™
Re-amplification techniques are commonly used nowadays, mainly to let the guitarist record a dry
guitar in one place and time, and then have that dry recording sent to one or many amplifiers by a
sound engineer who will take the time to find the right combination for the song. This way a guitar
player who is equipped with a good quality DI and a DAW can take the time to quietly record at home
without travelling to a studio, and eventually get a pro recording of a real amplifier. For more
information about re-amping techniques, please read this Wikipedia article:
http://en.wikipedia.org/wiki/Re-amp.
With the Torpedo Reload, you can do both of those things: record the dry guitar with the DI, and then
use the REPLAY™ to send that guitar track back to an amplifier. We will here present first a silent
REPLAY™ (i.e., without actual cabinets plugged to the Torpedo Reload), and then the full setup for
recording 3 different tracks at the same time.

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4.5.1 Silent REPLAY™
We shall assume here that the DI setup presented above (“3 Di recording”) is already operational. On
track 1 of your sequencer you have recorded the sound sample of a dry guitar signal.
1. Route Track 1 so its output is sent to your audio interface’s output 3, if 1 & 2 are used as Master
output. It is important you use a different output from the Master one. This way you can hear
the replayed track on the Master output, while sending the dry track to another output. If you
only have 2 outputs, you can use output 1 to send track 1 and output 2 to hear the newly
recorded replayed signal.
2. Connect the interface’s output 3 into the REPLAY™ input.
3. Connect the REPLAY™ output to your amplifier’s input.
4. Connect your amplifier’s output to the Torpedo Reload’s speaker input.
5. Connect the Torpedo Reload’s Loadbox to your second microphone preamplifier (or channel 2 of
the mixer, preamp 2 on the audio interface).
6. Connect the preamplifier to the Line channel input 2 on your audio interface.
7. Activate Track 2 for recording & live monitoring, select channel 2 as an input
8. You can insert Torpedo Wall of Sound on the track so you can perform (non-destructive) miking
while recording the dry signal of the amplifier.
9. Start recording!
4.5.2 The full setup: DI + LOADBOX + miking
In the previous setup we decided to achieve a silent REPLAY™, but you can perform some traditional
miking at the same time, with a controlled sound level thanks to the Torpedo Reload’s power
attenuator.
1. Connect a cabinet to the Torpedo Reload’s speaker output, set the appropriate volume for the
cabinet using the SPEAKER potentiometer. Plug a microphone to your third preamplifier

(channel 3 on the mixer, etc.), place the microphone in front of the cabinet.
2. Connect the preamplifier to the Line channel input 3 on your audio interface.
3. Activate Track 3 for recording and eventually live monitoring to hear the result in the Master,
select channel 3 as an input.
4. Record!
When replaying with a high-gain amplifier, you may experience some

unwanted noises, at a level higher than what you were used to with a guitar
directly plugged into the amp. This is normal and mainly due to the amp’s
huge level of gain, whereas our setup here is more complex and more
sensitive to every source of noise in it. The different ground lifts we add to
the Torpedo Reload will help, but may not be enough. We recommend
having the different products (instrument, Torpedo Reload, computer,
amplifier) as far as possible from one another, while keeping the
unbalanced connections as short as possible. A noise gate in the effects
loop of the amplifier always helps a lot with this kind of issue.
4.5.3 MATCH™
The unique MATCH™ function will compare the signal sent from the guitar with the signal coming
back from the audio interface. Use the REPLAY™ potentiometer to adjust the level of the track’s
signal.
We shall assume here that the silent REPLAY™ setup is operative. Activate the track-1
monitoring so the guitar’s dry sound will come back to the audio interface into the
REPLAY™ input. That way the Torpedo Reload will be able to compare the guitar’s signal
with the one sent by the audio interface.
Play the guitar so you see a LED on the MATCH™ panel light up. Increase or decrease the
value of the REPLAY™ potentiometer until the OK green led lights up, and your level-
matching is done!
MATCH™ works best if the latency of your digital audio interface is set to a
value inferior to 20 milliseconds.
4.5.4 MATCH™ without the original guitar
You cannot use the MATCH™ function because your are replaying tracks that were recorded at a
different time and place? Try to get some information about the guitar/bass that was used. Find a
guitar with similar pickups (single coils, humbuckers, active…) and use MATCH™ as if this were the
guitar used during the initial guitar recording, to find the REPLAY™ potentiometer’s correct value.

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5 Specifications
5.1 List of Power Amplifiers (available through Wall of

Sound)
Designation Characteristics
SE 6L6 Configuration Single Ended - Class A with 6L6
SE EL34 Configuration Single Ended - Class A with EL34
SE EL84 Configuration Single Ended - Class A with EL84
SE KT88 Configuration Single Ended - Class A with KT88
PP 6L6 Configuration Push-Pull - Class AB with 6L6
PP EL34 Configuration Push-Pull - Class AB with EL34
PP EL84 Configuration Push-Pull - Class AB with EL84
PP KT88 Configuration Push-Pull - Class AB with KT88
5.2 List of Cabinets (available through Wall of Sound)

Designation Inspired by
GUITAR cabinets
2Notes CSG Two Notes Custom 1×12” ElectroVoice® EVM12L
Angl VintC Engl® 4×12“ Celestion® V30
Blonde 63 Fender® Bassman ’63 Blonde Tolex Piggy Back 2×12”
Brit 65C Marshall® 1965A 4×10“ Celestion® G10L-35 close back
Brit VintC Marshall® Slash Signature 4×12” Celestion® V30 close back
Calif StdC Mesa/Boogie® Rectifier® Standard 4×12“ Celestion® V30 close back
Eddie Peavey® 5150 2×12” Sheffield 1200
Free Rock2 VHT® Deliverance 2×12“ Eminence® P50E
Green Tri Hughes&Kettner® Triamp 4×12” Celestion® Greenback
Jazz 120 Vintage Roland® JC120 2×12“
JubilGreen Marshall® 2550 2×12” Celestion® Greenback
Kerozen Diezel® 4×12“ Celestion® V30
Silver77 Vintage Fender® Twin Reverb® 2×12” orange JBL®
SilverJen Vintage Fender® Twin Reverb® 2×12“ Jensen® C12K
The One Brunetti® Neo1512 1×15” + 1×12“
Vibro Utah Vintage 1961 Fender® Vibrolux® 1×12” original Utah speaker
BASS cabinets
2Notes CSB Two Notes Custom 1×15“
Alu XL Hartke® XL 4×12“
AZ Ben SWR® Big Ben 1×18“
AZ Work SWR® WorkingMan 4×10“

Calif Low Mesa/Boogie® 2×10“
Fridge Ampeg® 8×10“
Heaven Bot David Eden® 1×15“
Marco Markbass® 2×10“
5.3 List of Microphones (available through Wall of Sound)

Dynamic 57 Dynamic microphone Shure™ SM57
Dynamic 421 Dynamic microphone Sennheiser™ MD421
Knightfall Condenser microphone Blue™ Dragonfly
Condenser 87 Condenser microphone Neumann™ U87
Ribbon160 Ribbon microphone Beyerdynamic™ M160N
Ribbon121 Ribbon microphone Royer™ R121
Bass 20 Dynamic microphonee Electrovoice™ RE20
Bass 5 Dynamic microphone Shure™ Beta52
5.4 Block diagram

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5.5 Connectors wiring
5.6 Possible speaker combinations
The Torpedo Reload features two speaker outputs, wired in parallel. There are technically equivalent.
The total impedance on these two outputs can't be lower than 4 ohms. In order to respect this rule,
you can refer to the following table :

Impedance - cabinet 1 Impedance - cabinet 2 Total impedance Result

16 No cabinet 16 OK
16 16 8 OK
16 8 5.3 OK
16 4 3,2 IMPOSSIBLE
8 No cabinet 8 OK
8 16 5.3 OK
8 8 4 OK
8 4 2.7 IMPOSSIBLE
4 No cabinet 4 OK
4 16 3.2 IMPOSSIBLE
4 8 2.7 IMPOSSIBLE
4 4 2 IMPOSSIBLE
5.7 Technical Data

Jack 6.35mm (1/4”) unbalanced (TS, Tip/Sleeve)
Speaker Input Maximum input voltage: 140 Volts AC (45 dBu)
Security load: 220 Ohms / 10 Watts
Reactive load, nominal impedance: 4 or 8 or 16 Ohms switchable
Maximum admissible power: 150W (assuming proper ventilation)
Loadbox Maximum temporary admissible power : 200W (assuming proper ventilation)
(see this article if your amplifier is more powerful)
Cooled by temperature-controlled fan
2x Jack 6.35 mm (1/4”) unbalanced (TS)
Minimum load: 4 Ohms
Maximum output power:
Speaker Outputs
• 25 W RMS@ 16 Ohms
Balanced XLR
Output Impedance: 600 Ohms
Ground/Lift switch
Loadbox Output Attenuation (speaker input to balanced loadbox output): 24.5 dB \\Maximum
output level (balanced): 20.5 dBu
Noise: under -98 dBu from 20 Hz to 20 kHz
Frequency response @ -1dB: 5 Hz to 24 kHz
Jack 6.35mm (1/4”) balanced (TRS, Tip/Ring/Sleeve)
Maximum input level: 36 dBu
REPLAY™ Input
Input impedance: 20 KOhms
Ground/Lift switch
Jack 6.35 mm (1/4”) unbalanced (TS)
Impedance: 300 Ohms
Gain (In to Out): 0 to -inf dB, adjustable by potentiometer
REPLAY™ Output
Maximum output level: 19 dBu
Noise: under -98 dBu from 20 Hz to 20 KHz
Jack 6.35 mm (1/4”) unbalanced (TS, Tip/Sleeve)
DI Input
Impedance : 1 MOhms

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Balanced XLR
Impedance: 600 Ohms
Ground/Lift switch
DI Output Gain (In to balanced Output): 6 dB Maximum
In/Out level: 20 dBu
Noise: under -98 dBu from 20 Hz to 20 kHz
Cooled by temperature-controlled fan
Thermal security Thermal security: when overheating, the loadbox gets disconnected (leaving only
a 220- Ohm security load) and the signal is muted.
IEC60320 C14 power connector
Input voltage: depending on your country of residence, from 100V to 230V, 50 to
Power supply
60Hz
Power: approx. 100W Max
Width: 320 mm
Depth: 178 mm, 200 mm including connectors and knobs
Dimensions
Height: 89 mm
Weight: 4.5 kg
6 Technical support
Should you encounter a problem with your product or need help regarding any technical aspects,
please note that Two notes Audio Engineering has developed on-line services to provide you with fast
and efficient technical support, the Two notes Help Desk.
Don't hesitate to browse the Knowledgebase, which contains all sorts of useful informations, or submit
a ticket if you have any question or need assistance with a Two notes product.
6.1 Two notes Website
On the Two notes Audio Engineering website, you will find:
news about the company and the products (news on the homepage),
comprehensive information about the Torpedo Reload and its many applications (FAQ),
firmware and software updates to download (products/Torpedo Reload/downloads),
access to the Two notes Store where you can buy new cabinets,
the Torpedo BlendIR software (products/Torpedo Reload/downloads),
an official forum where you can share tips and advice with other Torpedo users (forum).
The Two notes Team often visits specialized forums to help out users.

6.2 E-mail
We do not offer technical support via e-mail. Please contact us via the Help Desk at the address
above.
From:
http://wiki.two-notes.com/ - User's manuals
Permanent link:
http://wiki.two-notes.com/doku.php?id=torpedo_reload:torpedo_reload_user_s_manual
Last update: 2018/05/09 12:03

Torpedo Reload User S Manual

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2018/06/02 13:16 1/27 Torpedo Reload User's Manual

Torpedo Reload User's Manual

Guitar Connectivity… Perfected!

Two notes Audio Engineering is a registered trademark of:

1.1 Safety instructions

1.1.1 Risk of electric shock

1.1.2 Reader warning

The triangle with an exclamation mark highlights important messages concerning

1.1.3 Mains Power

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1.1.4 Ground Connection

1.1.5 Safety use conditions

1.2 Contents of the package

The shipped package contains:

One Torpedo Reload unit in a protective sleeve

User's manuals - http://wiki.two-notes.com/

1.3 Declaration of conformity

Manufacturer: OROSYS SAS

EN 55103-1 : 1996 and EN 55103-2 : 1996.

1.4 Disposal of Waste Equipment by Users in Private

IMPORTANT: PLEASE RETAIN YOUR SALES RECEIPT, AS IT IS YOUR PROOF OF PURCHASE

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2 Recommendation on the proper use of a

2.1 What is a loadbox?

User's manuals - http://wiki.two-notes.com/

Always connect the speaker out of your tube ampliﬁer to an appropriate

2.2 Which output volume for my ampliﬁer?

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the tubes and possible malfunctions or damages at the output stage.

2.3 Is the use of a loadbox totally silent?

3 About the Torpedo Reload

3.1 Introducing the Torpedo Reload

User's manuals - http://wiki.two-notes.com/

A Hi-Z instrument DI so you can record you guitar’s signal directly;

3.2 Front panel

1. Mains switch 4. Loadbox output 7. Ventilation slit 10. MATCH™

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3.3 Rear panel

1. Fan 4. Loadbox output

3.4 The Torpedo Reload’s advanced functions

User's manuals - http://wiki.two-notes.com/

3.4.2 Hi-Z instrument DI

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3.5 The Torpedo technology and Torpedo Wall of Sound

User's manuals - http://wiki.two-notes.com/

3.6 Torpedo Wall of Sound, only A Speaker Simulator?

the guitar/bass power ampliﬁer

The miking is achieved in 3 steps in Wall of Sound :

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3.6.1 Tube Stage Output

3.6.2 The Torpedo technology, convolution and Impulse Responses

Two notes has developed a unique technology based on an adaptation of convolution

3.6.3 Multi miking

3.6.4 Post FX Section

User's manuals - http://wiki.two-notes.com/

3.6.5 3rd Party Impulse Responses

3.6.6 Create Your Own IR's

4 Connecting the Torpedo Reload

1. Guitar/Bass 4. Guitar/bass speaker 6. Audio interface

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2. Torpedo Reload (front) cabinets 7. PC/Mac with Torpedo Wall

Please keep in mind that tube ampliﬁers must be connected to an

4.2 LED indicators